North Coast Javanese Batik

The Batik Road - Ibu Masina - Trusmi, Cirebon

2012-02-04T15:48:00.000+10:00

IBU MASINA

Ibu Masina - Trusmi - Cirebon, 1960s
Skirt cloth kain panjang
Lenggang kangkung motif
Cotton, synthetic dyes, batik tulis
103.0 x 241.5 cm [Photo: Mick Richards]

Please click on all images to enlarge.

The work above (and detail below), was made in the workshop of Hajj Masina by his wife Ibu Masina in the early 1960s. They were the parents of Budi Masina who has been highlighted in earlier posts. Hajj and Ibu were the 4th generation of this renowned batik family in Trusmi, Cirebon. The name of the motif lenggang kangkung was the inspiration of Hajj's father H. Mohammed Masina, the 3rd generation of the family. He was also a farmer and gained inspiration for this motif from the fresh looking and verdant growth of his kangkung (water spinach) plants. If you have visited Indonesia you would certainly have enjoyed kangkung as one of your vegetables.

The resulting motif lenggang kangkung certainly depicts all the characteristics of verdant growth. These dark and mysterious forms, full of energy, are the embodiment of the sense of freedom obtained when suspended in water. The irregularity of the placement of these forms across the surface of the kain panjang, amplified by the energy-rich flora motif (tanahan) on the background, add to this overall sense of dynamism. The whole pictorial surface is alive and there appears to be nothing routine or simplistic in the bold artwork.

Detail of kain panjang with lenggang kangkung motif
[Photo: Mick Richards]

In contrast with this work by Ibu Masina from the 1960s is a kain panjang below made some ten years later by her. It is far more subtle in both its colours and motif. What heightens its appeal is that the motif is depicted within diagonal bands or dlorong. These bands along with the tonal variation of the colours within each of these bands establishes a strong sense of optical repetition. As always with batik made by any of the five generations of the Masina family, this work is of excellent craftsmanship. In this work Ibu has made use of the combination of traditional browns on a tan background that was typical of the work of H. Mohammed Masina and his wife Bi Masio Narsibo.

Thank you to Budi and Ida Masina and their daughter Dwie for their generous assistance identifying the motifs and the stories behind each of the batiks illustrated. Thank you also for providing me with the list of names of the five generations of the Masina family and the approximate time each generation operated the workshop in Trusmi. It all began in 1829 with AP. Adam and Mbok Rad.

Ibu Masina - Trusmi - Cirebon, 1970s
Skirt cloth kain panjang
Patran kembang (many flower tentacles), Babarmas (colour)
Cotton, synthetic dyes, batik tulis
105.0 x 236.0 cm [Photo: Mick Richards]

Detail of kain panjang with patran kembang motif
[Photo: Mick Richards}

Detail of kain panjang with patran kembang motif
[Photo: Mick Richards]

The Batik Road - Masina Batik - Cirebon

2012-01-30T12:18:00.000+10:00

Masina Batik - Trusmi - Cirebon

Wayang Cirebon Motif - Ragam hias Wayang Cirebon

Detail: Skirt cloth kain panjang, Masina workshop, Wayang Cirebon motif, 2010;
Cotton, synthetic dyes, batik tulis; 103.0 x 286.0 cm [Photo: Mick Richards]

Detail as above [Photo: Mick Richards]

Scenes from the wayang kulit shadow theatre performance are replicated here in this traditional design depicting a contest between Ksatria, or members of the warrior class.

The ivory background while not evident in this photograph, is a distinctive feature of Cirebon batik. The ivory colour is also called kuning Cirebon (kuning = yellow). This work has a wonderful sense of rhythm established by the movement of the figures and landscape features, all within the dense complexity of the surface. The figures are anchored to the surface by referencing them to landscape features like the trees, birds, clouds and plants and built structures like entry gates and shrines. The drawing is lyrical and in much detail. Like much of the work from the Masina workshop the background is keep totally clear of any dye flow. This is achieved by building up the wax surface over these areas to prevent penetration by other colours into the rich ivory background.

A visit to Budi and Ida Masina's Batik & Antique Shop is a must when you are next visiting Cirebon:

H. BUDI MASINA

Jl. Trusmi Kulon, Cirebon Jabar - Indonesia

(0231) 321700

The Batik Road - Tiga Negeri

2012-01-29T14:40:00.000+10:00

The tiga negeri batik developed in response to a change in fashion trends which required increasingly intricate designs.

Detail of the tiga negeri batik illustrated below and in my previous Post.
[Photo: Mick Richards].

Batik tiga negeri- to enable full appreciation of this exquisite batik I have included a number of details.
[Photo: Mick Richards].

This detail allows you to observe the various small motifs within the alternating dianogal bands or dlorong (a variation of the central Javanese geblak). The flowers are depicted rather vaguely.
[Photo: Mick Richards].

The Batik Road - Combining Pasisir and Central Javanese Colours & Motifs

2012-01-29T12:40:00.001+10:00

Batik tiga negeri - Skirt cloth kain panjang
Cirebon , c. 1920 - 106.0 x 258.0 cm

Batik tiga negeri refers to batik cloth that combines the filler motifs and colour styles of three different batik making regions. The production centers included one of the Principalities, usually Solo for its rich soga brown, and the other two from the Pasisir. Depending on the region in which the soga is made, it may occur in various shades.

Tiga negeri cloth was an outcome of changes in fashion tastes post the 1870s and continued on into the twentieth century. These trends dictated a preference for extremely intricate designs. They were very expensive cloths that also epitomised the Javanese desire for perfection by ensuring each cloth utilised only the best qualities from each region. By combining the motifs from the Pasisir and central Java, the wearer was highlighting connections with groups in both regions. Later on these beautiful batiks became a display of the wearer's affluence.

I also believe that the development of tiga negeri cloths, is another example of batik being a living tradition where existing motifs continue to be modified and new motifs evolve, all of which add to its rich vocabulary.

This exquisite work is made up of four floral bouquets and rather then being arranged on a plain background, they are integrated into the background. This buketan style is considered to be typical of batik Pasisir, and was the fashion for Europeans and Indo-Europeans. The buketan style also soon became the choice of Peranakan Chinese wanting their social position to be seen as being equal to the Dutch. Their cloths as seen above, were very elaborate and the bouquets were difficult to distinguish from the background. The background is made up of slanting bands or dlorong containing a number of filler motifs. The colour combinations are very complex.

Pasisir Batik Road - Cirebon - Madmil Workshop

2012-01-19T14:16:00.000+10:00

BATIK MADMIL - TRUSMI - CIREBON

Renowned 10th generation batik-maker, Ega Sugeng and her son Arief Nurochmat of Batik Madmil. Their home and workshop compound is in Trusmi, Cirebon. They are standing in front of one of Ega's magnificent works, a
tiga negeri kupu-kupu beras tabur. It is a 15-colour kain panjang and is 2.6 meters long. [Photo: Ian Reed]

When we last visited Ega in 2008 we commissioned a 12-colour kain sarong featuring the kembang rangdu negerian motif (detail above). This cloth took one year to complete and for a work of such complexity, it is flawless in its making. The kepala is made up of slanting bands or dhorong (as above). Each band varies in colour, the type of flower and the very intricate filler patterning found within a motif, isen-isen. The border around the whole work as well as that of the main body of the sarong, the badan, is a repetition of one of the dhorong making up the kepala. [Photo: Mick Richards]

Tiga negeri kupu-kupu beras tabar as seen in the background of the first image above. The butterflies are drawn with a great sense of freedom and the dancing peacocks (as per the final image below), celebrate beauty and boldness. [Photo: Ian Reed]

This detail and the one below illustrate Ega's use of a wide variety of background filler motifs, the areas outside the main motifs, called tanahan. Reference has been already made to isen-isen, the intricate filling motifs used to fill in the primary motifs.

When you are next in Cirebon a visit to Batik Madmil to meet Ega and Arief is a must do. They are very generous with their time and only to happy to share with you examples of Ega's work. All of Ega's work is by commission- from the various examples you are shown, you choose a work you would like to commission to be made. This will take at least one year. Many commissions are received from overseas museums and galleries.

Contact details:

BATIK MADMIL
Trusmi Kulon 388
Weru Plered Cirebon 45154
Tel: +62 231 321045
Email Arief Nurochmat: arief_388@yahoo.com

The Batik Road - Travel Recommendations for Java

2012-01-17T10:54:00.000+10:00

Taking the Batik Road along the north coast of Java is a wonderful way to visit the batik workshops, gain a real appreciation of the natural and built environments of this region and most importantly, build a stronger understanding of and connection with the people.  In the larger towns or cities or at the road-side stalls we were very quickly welcomed and engaged in conservation. Being able to pull over at any time allows you to experience a whole range of daily life activities including: fishing; planting rice; local markets; wedding processions; delicious food preparation; identifying various plants and trees; spotting birds; looking at batik drying on lines in home gardens; and so many other activities all of which, enriches your cultural understandings.

As Henry Miller said: 'One's destination is never a place, but a new way of seeing things'.

This unbelievable journey that began at Jakarta and concluded at Ubud, Bali, would not have been possible without the guidance and recommendations of Udhi Sudiyanto, Director of Antar Anda Tour and Travel, Yogyakarta. After a Google search I emailed five Javanese Tour and Travel agencies. Udhi replied immediately and his response corresponded to our requests rather then attempting to change our travel plans.  After we indicated the towns and cities we wished to visit Udhi finalised all travel aspects of the journey including the car and English speaking driver, all of the accommodation including breakfast, all parking and toll fees and the car ferry to Bali. He understood us as travellers and ensured we had a variety of accommodation that meet our interests.

The whole experience was made so much the better because of our driver, Sugiyono (Sugi). Sugi took his care and responsibility for us very seriously and ensured that at all times we were safe, comfortable, understood and maximising our enjoyment.  He also enjoyed being introduced to batik and batik makers and visiting locations that he had not been to before. Sugi's contribution to the success of the trip was immense.

Our driver Sugi outside the Antar Anda office in Yogya [Photo: Ian Reed]

Sugi (on right) enjoyed the opportunity to meet the many batik makers along the north coast of Java. Here we are all enjoying a wonderful morning with Budi and Ida Masina of the renowned Masina Batik Workshop in Trusmi, Cirebon [Photo: David Hill]

We highly recommend Udhi Sudiyanto, Director of Antar Anda Tour & Travel to you and if you are travelling by car please ask for Sugi to be your driver, you will not be disappointed.

ANTAR ANDA TOUR AND TRAVEL
Udhi Sudiyanto, Director
+62 8122962693
Jalan Kledokan B 20 E
Yogyakarta
E-mail: antaranda@indo.net.id
Web: www.antaranda.com

Some of the hotels we enjoyed and would recommend are:

Our room at the d'Omah Hotel in the village of Tembi, 20 minutes from central Yogya. Rooms are meticulously restored old Javanese houses with all of the modern additions like the Internet. Each room in the hotel is filled with antiques, artifacts and contemporary Indonesian paintings and sculpture. You can truly relax here and the restaurant food is excellent
[Photo: Ian Reed]

The Guest House GG House, Happy Valley outside Bogor; Hotel Sare Sae, Cirebon; Nirwana Hotel, Pekalongan; two outstanding hotels in Yogyakarta- d'Omah tucked away in the famous craft village of Tembi, with its resident designer Warwick Purser, the Director of Out of Asia, is 20 minutes south of Yogya www.domahyogya.com and in central Yogya, the historic Phoenix Hotel which was originally built in 1918 and since beautifully adapted to incorporate contemporary features has great colonial charm info@thephoenixyogya.com ; Lor In with its expansive and lush tropical gardens in Solo; while we did not stay at the Hotel Tugu in Malang we would highly recommend it to you. It is an outstanding example of a hotel museum with every room filled with Javanese antiques and artifacts.; and the Margo Utomo located in the small hill-country town of Kalibaru, our last stop in east Java before catching the ferry to Bali. This is a delightful Resort to relax in after a long journey. Very comfortable cottages, lush botanic like gardens to become lost in and very warm hospitality www.margoutomo.com

Pasisir Batik Road - Cirebon - Masina Workshop

2011-10-25T14:34:00.000+10:00

Outside H. Budiarno Masina's Batik & Antique Shop in Trusmi- Ian Reed, Ida Masina, Budi Masina & Self
[Photo-Anne Burgess]

H. Budiarno Masina (Budi), is the 5th generation of this famous batik family from the village of Trusmi, Cirebon. Budi commenced batiking in 1980. The workshop dates back to 1829. Budi's mother was Ibu Masina who was an acclaimed batik artist. The family's third generation batik makers were H. Mohammed Masina and his wife Bi Masio Narsibo. The family received some of the sacred royal patterns of the court of Cirebon.

In BATIK- Fabled Cloth of Java published in 1984 by Clarkson N. Potter, Inc., New York, Inger McCabe Elliott wrote- there are few north coast batikers these days who produce Cirebon batiks in tulis as well as the Masinas.

Budi Masina with his son Hadiyono [Photo-Ian Reed]

Cirebon is situated on the north coast of Java, on the border between West and Central Java. It was formerly a busy harbour visited by vessels from abroad as well as other parts of the Indonesian archipelago. Cirebon had two royal courts: Kasepuhan and Kanoman. It is also one of the nine centres from which Islam was spread throughout Indonesia. It was one of the earliest Islamic states in Java and concentrated on the development of the arts and the spreading of the faith by peaceful means rather then military expansion. There has been a rich fusion of religious faiths and cultures and it is easy to find the combination of Chinese, Arab and Hindu features with those of Cirebon. An example of this fusion is the imaginary beast called the Peksi Naga Liman or the Singa Barong.

Cirebon batiks are the only textiles on Java which depict landscapes.These are usually representations of rock gardens and grottoes surrounding the palace of the local ruler, featuring fantastic animals borrowed from Hindu and Arab mythology (refer to an earlier posting of a work from the Masina workshop with the design known as Nagashebha ('seated serpent'), which features fantastic animals from Hindu mythology.

The works that have been sourced from Budi and Ida on this visit, will be illustrated in future postings once they have been professionally photographed. They include a number of works by Ibu Masina and antique works from Pekalongan; a wonderful tiga negri (a cloth made in three different production centres on the Pasisir and central Java, combining the motifs and colours of all three) from Cirebon; a pagi-sore ('morning-afternoon') from Indramayu; and Tegal.

When you are next in Cirebon a visit to Budi and Ida Masina's shop is a must. It will be an experience you will never forget. Apart from the magnificent batik that will take days to go through, the walls of the shop are adorned with brilliant Indonesian paintings by major artists. Sit down on the floor with Budi and Ida and enjoy being shown exquisite batik both old and new.

Budi and Ida are two very kind, special and generous people who love to share their knowledge and passion for batik with you. Hadiyono also shares with much enthusiasm his knowledge of batik and ensures your visit is an enjoyable and memorable one.

After visiting Budi, Ida and Hadiyono take a stroll across the street to Anggon, Wediyanto Masina's shop and workshop, it is also a must do. Here you can watch in awe the batiking skills of the women who will each be working on cloths at various stages of the batik process.

Contact Details:

H. BUDIARNO MASINA (Budi, Ida & Hadiyono)
Batik and Antique Shop
Trusmi - Plered - Cirebon
Telephone: (0231) 321700

ANGGON
Wediyanto Masina (Budi's younger brother)
Trusmi Kulon No. 381
Plered - Cirebon
Telephone: (0231) 320300 - 320707
Hp: (0231) 3315015

Four extraordinary hours were spent with Budi, Ida and Hadiyono looking at exquisite antique batik cloths from their collection. Works ranged from a 130 year old batik in the European style from Pekalongan to a 50 year old work by Budi's mother Ibu, that has the appearance of a contemporary art work, the motif being, Lenggang Kangkung.
[Photo-Anne Burgess].

Batik artists at work in Wediyanto Masina's (Budi's younger brother), workshop, Anggon, across the street from Budi and Ida. Hand-drawn batik is called tulis after the Javanese word for "writing". Tulis is the most time- consuming, expensive and highly prized batik. The canting has a bamboo handle about six inches long, with a small, thin copper cup from which a tiny pipe protrudes. The liquid wax flows through the the tiny pipe and is drawn onto the cloth. [Photo-Anne Burgess].

The first waxing taking place- the waxed areas will remain the colour of the cloth after the first dye bath. Here the cloth is draped over a bamboo frame called gawungan while the waxing takes place. The batiker sits between the cloth and the pan of wax and begins her work with the canting. Her free hand supports the underside of the cloth. She covers her lap with a napkin or taplak to protect herself from dripping wax.
[Photo-Anne Burgess].

The thickness of the wax application will ensure the background remains clear of dye. This is a key characteristic of the excellent craftsmanship at the Masina workshop [Photo-Ian Reed].

This first waxing, or ngrengren, highlights the batik artist's amazing control and skill in the execution of this dynamic motif. It is the workshop's skilled batikers who are choosen to apply the first wax outline to the cloth because this will largely determine the quality of the batik.
[Photo-Ian Reed].

Several women share a pan of heated wax around which the batik artists work. Each worker sits on a stool with the wax and canting close at hand.
[Photo-Ian Reed].

Travel on the Pasisir Batik Road - The National Museum of Indonesia

2011-10-19T18:26:00.000+10:00

Nandi, the bull, is the mount of the Hindu god, Shiva the Destroyer. From 13th - 14th c. it was found in Malang, East Java. It exudes an impression of peace and tranquillity. [Photo- Ian Reed]

The Museum Nasional (the National Museum of Indonesia), has endeavoured to preserve Indonesia's heritage for two centuries and will continue to do so. It has a broad and fascinating collection which covers all of Indonesia's territory and almost all of its history. The Age of Enlightenment in mid 18th century Europe lead to European settlers in Indonesia to follow suit. In April 1778, the Governor General of the Netherlands East-Indies Council, Reinier de Klerk, gave his permission to establish Bataviaasch Genootschap van Kunsten en Wetenschappen (The Batavian Society of Arts and Sciences), the first society of its kind in Asia [The Museum Nasional Guidebook].

The Collections are immense and include excellent Textile and Ceramic collections.  There are clear connections between the motifs and colours found on some of the ceramic objects and those on various batik cloths especially those of Chinese origin. We spent much time also in the outstanding Ethnography collection comprising a wide variety of objects that are part of Indonesian daily life as well as objects used in ceremonies and rituals.  It is important to remember that Indonesia has the fourth largest population in the world which consists of over 300 ethnic groups. The Museum has a wealth of stone statues relating to ancestral worship, Hindu gods and goddesses, kings and animals.

It was extremely encouraging to note that the Museum is in the process of upgrading the exhibition experience being provided for their visitors. Outstanding objects are being given a curatorial context and supported by good exhibition design, interpretative and educational planning and an awareness of the conservation needs for each object. While collections and exhibitions are central to the present museum experience, the objects are with the changes taking place, surrounded more and more by contextual and interpretive materials, storytelling, and an exploration of the meaning of the objects. As a result visitors feel more informed and connected to the objects and the exhibition as well as, to the Museum. An example of these changes can be seen in the ongoing development of the Indonesian Gold exhibition.

The Indonesian Heritage Society organises free English tours of the museum at 10:30am every Tuesday and Thursday, every second Saturday and the last Sunday in the month. There are tours for a number of other languages as well.

We were given an outstanding tour by Terry Melendez, Vice-Chairman Operations, Indonesian Heritage Society- sincere thanks Terry.

The Museum Nasional is on the western side of Merdeka Square:
Jl. Merdeka Barat 12, Jakarta Pusat, Indonesia
Telephone: +62(21) 381 1551
Website: www.museumnasional.or.id/

Indonesian Heritage Society Library and Office:
17th Floor, Sentral Senayan 1
(adjacent to Plaza Senayan)
Jakarta
Telephone: +62(21) 572 5870
E-Mail: info@heritagejkt.org
Website: www.heritagejkt.org

The Pasisir Batik Road- a detour to Bogor Botanic Garden and Cibodas Botanic Garden

2011-09-29T16:50:00.000+10:00

Entry to the Tree Fern Forest at Cibodas Botanic Garden. These very beautiful plants can grow up to 10 to 15 meters on a thick trunk, with huge, lacy green fronds emerging from the top (Photo by Anne Burgess).

[Please click on images to enlarge]

Before travelling onto the batik workshops of Cirebon it is essential to take a small detour and immerse yourself in the splendor of Bogor Botanic Garden and Cibodas Botanic Garden. The 87 hectare site is located in the heart of Bogor, about 60 km southeast of Jakarta. The vivid range of colours found in the flowers and foliage of the enormous variety of tropical plants can also be seen in many of the batiks from the Pasisir. While Bogor has plants from all over the world, Cibodas is notable in having a spectacular collection of plants found in cool, high altitude environments.

Cibodas is reached by taking the Bogor - Bandung Highway. This journey takes you over the spectacular scenery of the 1500 meter high Puncak Pass. Cibodas is the next village over the Pass. The gardens are spread over the lower slopes of Gunung Gede and Gunung Pangrango. The gardens are extremely lush as this is one of Java's wettest areas. The Tree Fern forest is sensational to stroll through, don't miss it.

The water lily, Nymphaea lotus, from Egypt, comes in two colours, rosy pink and white.

The largest water lily in the world, Victoria amazonica, named after Queen Victoria of England, is from the Brazilian Amazon. It has leaves that are at least 2 meters in diameter, turned up at the edges and covered with sharp spines on the underside. The protruding ribs that give stability to the leaf supposedly inspired the glasshouse designs of Joseph Paxton at Kew. The fragrant flowers are white when they open at dusk and reddish-pink when they close in the morning.

Journey on the Batik Road- Adiwastra Nusantara 2011

2011-09-20T19:53:00.000+10:00

(Please click on images to enlarge)

Top: An outstanding Pekalongan batik (detail), which was part of a display of rare treasures from Hartono Sumarsono's batik collection (photo by Anne Burgess)

Bottom: Demonstrations and display courtesy of the Textile Museum of Jakarta (photo by Ian Reed)

Friday 17 June was significant as a result of our visit to Adiwastra Nusantara 2011 at the Jakarta Convention Centre. This major textile exhibition in its fourth year was themed Wastra Adati which translates to traditional fabric. Traditional fabrics are surviving against a flood of imports and as the chairman of the Indonesian Traditional Textile Society (Himpunan Wastraprema) Adiati Arifin said, "This proves people's appreciation of traditional fabrics is growing." (Jakarta Post 20/09/2011). This year there were 400 participants celebrating their contribution to Indonesia's rich textile traditions.

We were fortunate to meet Benny Gratha while appreciating the displays and demonstrations presented by the Jakarta Textile Museum. Benny is a volunteer at the Textile Museum and is very passionate about batik. He shares his knowledge with much enthusiasm.

After discussing his role at the Textile Museum Benny guided us to the front section of the hall occupied by a breath-taking exhibition of works taken from Hartono Sumarsono's collection of Pesisir batiks. The batiks were beautifully displayed and were accompanied by extensive information labels. Benny introduced us to Hartono and we had an unique opportunity to discuss some of his treasures with him.

Thank you Benny for sharing your passion for batik with us and best wishes for your ongoing studies.

Also on display was a newly published book of Hartono's collection titled Batik Pesisir Pusaka Indonesia (ISBN: 978 - 979 - 91 - 0338 - 3). This is a very fine text with excellent illustrations. The author is Helen Ishwara.

In my previous Blog I wanted to also thank Mis Ari, S.Pd, the curator at the Jakarta Textile Museum. We enjoyed discussing the exhibition with you and in particular, the various display techniques that were inventive and informative.

Journey on the Batik Road - Jakarta Textile Museum

2011-09-17T17:59:00.000+10:00

Self in front of the Museum Tekstil (Textile Museum, Jakarta), 16 June, 2011

Our journey on the Batik Road began in Jakarta on 15 June, 2011. We fondly call the highway east from Jakarta along the north coast of Java the Batik Road, as it connects the towns and cities of the Pasisir. Our batik collection focuses on works from this region. In these towns and cities you will find superb batik workshops many of which have been operating for generations. I need to note that Pasisir batik also comes from non-coastal towns in Java like Garut, Banyumas, Ponorogo, and Tasikmalaya because of the similarities in the motifs and colours used in these locations.

I highly recommend a visit to the Textile Museum Jakarta. The exhibitions are very well curated and innovative display techniques are employed to maximise the visitor experience. We were very fortunate that a large survey exhibition by two of Java's batik greats, Hardjono Go Tik Swan and Iwan Tirta, was on display. The 150 works were not only drawn from the museum's collection but also from the collections of respected batik aficionados. The aim of the exhibition was to raise the awareness of younger generations of the role and history of batik in Indonesia's rich culture.

The museum has close to 2,00 works in its collection and approximately 700 of these are batik. The museum which opened in June 1976, is housed in a charming early 19th century building surrounded by well maintained gardens. There are also workshop facilities, a reference library and a small shop. I was hoping the shop may have had a more extensive range of textile publications for sale. Sadly the shop did not stock the Jurnal Wastra, an excellent journal published twice yearly, for lovers of textiles.

We proudly came home with a copy of the Museum's collection catalogue the Jakarta Textile Museum, which is a fine publication of 118 pages and with full colour plates of works representing a cross-section of the Collection (ISBN 979 - 95306 - 1 - X). The text is by Judi Achjadi, an internationally respected expert on Indonesian textiles.

It was wonderful for us to meet the museum's Director Indra Riawan. Indra is highly committed to enhancing the role of the Museum and to making its collections very accessible to all Indonesians. He recognises the significant role the Museum can play in celebrating and building knowledge and appreciation of batik, Indonesia's cultural treasure.

The Jakarta Textile Museum
Jalan Karel Sasuit Tubun No. 2 - 4
Jakarta Barat 11420 INDONESIA
Telephone: (62.21) 5606613
Email: mus_tekstil@yahoo.co.id and Website: www.museumtekstiljakarta.com

Journey on the Batik Road - Java

2011-09-13T18:16:00.000+10:00

     Pekalongan, 1930s
      Head and shoulder cover kudhung
      Cotton, natural dyes; batik tulis and cap
      84.5 X 205.0 cm

On 18 June 2011 we started our journey on the Batik Road, following the north coast of Java. Our journey began in Jakarta and ended in Solo and Yogya before we drove onto Ubud in beautiful Bali.

In coming Blogs I will take you on this journey and discuss: the batik workshops we visited and the batik artists we meet; buying old and new batik for your collection; batik museums that must not be missed when you get the chance to travel the Batik Road; the hotels and restaurants we enjoyed along the way; the travel argent and driver who not only made it possible but highly successful and enjoyable; the outstanding tailor in Ubud who will make-up your fabric you have purchased along the way; the drivers in Bali you can trust; etc.

The art work above comes from Pekalongan which is one of the towns we visited and it is known to all in Indonesia as Batik City.

The method of production of the above cloth is known as batik kombinasi, as it combined a hand-drawn design (batik tulis) with a stamped one (batik cap). It was worn as a head and shoulder cover by Muslim women in Sumatra.

I look forward to starting the journey with you in my next Blog, see you then.

Batik - Batik of Java - North coast of Java batik - Batik tiga negeri textiles

2010-11-09T14:12:00.000+10:00

(Click on image to enlarge)

Batik tiga negeri (detail)

Probably Lasem, Pekalongan/Kudus and Surakarta

Tjoa Siang Hing workshop, 1930s

Skirt cloth kain panjang

Cotton, natural dyes; batik tulis

104.4 X 253.0 cm

This page is devoted to a batik tiga negeri work or 'three countries' batik where the cloth is dyed in three towns.

My apologies for the lack of postings in recent times but I look forward to continuing to share my passion for north coast of Java (Pasisir) batik with you. In upcoming postings I will share with you some of the new batiks that have come into the collection. These include a magnificent art work done in the Kudus style by Mrs. Jane Hendromartono (nêe Oey Djien Nio). She signed her batiks with her husband's name, Liem Siek Hien. She is a third generation batik artist following in the tradition of her mother (Oey Kok Sing), and grandmother (Oey Soen Khing).

I really appreciate any comments or insights to Pasisir batik you may wish to share. In particular, I would like to hear from anyone who can tell me more about the Tjoa Siang Hing workshop where this beautiful work above, was produced.

The name tiga negeri- 'three countries' indicates that this fabric was dyed in three towns, each of them famous for producing a particular type of colour with natural dyes. For example, following the first dyeing in Lasem in red (mengkudu), the fabric was sent to Kudus to be dyed in blue (indigo) and then to Surakarta to be dyed in brown (soga). Each time new wax designs had to be drawn.

Fabrics of this kind became popular in the 1920s and 1930s. The production was usually coordinated by Chinese businessmen. The label on this cloth names the workshop of Tjoa Siang Hing as the producer of this cloth.

The complex, eclectic style of this cloth reflects the diversity of local traditions which contributed to its execution. While the brown trellis motif of the background is typical of the wedding cloths of central Java, the flowers- chrysanthemums and peonies- were favoured by Chinese clients from the north coast of the island.
(Dr Maria Wronska-Friend- from the extended label for the work in the exhibition, Batik of Java: poetics and politics, organised by Caloundra Regional Gallery: www.caloundraregionalgallery.org.au).

Batik of Java: poetics and politics

2010-09-01T18:23:00.000+10:00

Batik with lokcan-influenced design
Trusmi near Cirebon
Batik Masina workshop, c 2000
Shawl selendang (detail)
Cotton, synthetic dyes; batik tulis
52.5 x 210.0 cm

Birds of paradise set among lotus flowers and vines are a favourite decorative style of north Java textiles. Chinese silk batik lokcan and Indian chintz cloths have inspired this design.

The design of this cloth has been influenced by silk batiks of the Chinese community of Java (lokcan fabrics) as well as by Indian chintz fabrics of flowering trees and fantastic birds.
(Maria Wronska-Friend, from the exhibition Batik of Java: poetics and politics, organised by Caloundra Regional Gallery, Queensland, Australia).

We purchased this beautiful selendang from the Masina workshop located in Trusmi outside Cirebon, in 2007. Batiking has been done in the Masina family for generations.

In my previous Blog I did not mention meeting at the opening of the exhibition, Heda Bailey. Heda is passionate about batik, its rich cultural heritage and its future. You can experience her passion at: www.lovebatik.com and: www.myindoconnect.com/batikconnection .

Batik of Java: poetics and politics

2010-08-10T22:18:00.000+10:00

The exhibition, The Batik of Java: poetics and politics, organised by the Caloundra Regional Gallery is in its final week at the gallery before it moves onto the Perc Tucker Regional Gallery in Townsville from 3 December 2010 to 6 February 2011. The curator is Dr Maria Wronska-Friend, an anthropologist and museum curator specialising in textiles and costumes of Southeast Asia.

The exhibition is accompanied by a beautifully designed 64 page catalogue. There are also five gift cards available that highlight a detail from five of the batiks in the exhibition. Contact details for the Caloundra Regional Gallery- E: artgallery@sunshinecoast.qld.gov.au and Web: www.caloundraregionalgallery.org.au

There have also been two excellent articles written by Maria Wronska-Friend in The Journal of the Asian Arts Society of Australia, Volume 19 No. 2 June 2010 and in Textile Fibre Forum, Volume Twenty-Nine Issue 3 No. 99, 2010.

If you have an interest in Asian Arts then a subscription to the Asian Arts Society of Australia Inc. is a must:
www.taasa.org.au and enquiries to: admin@taasa.org.au The editor of TAASA Review is Josefa Green.

Similarly if you have an interest in textiles a subscription to Textile Fibre Forum is a must: http://www.tafta.org.au or email: tafta@iinet.net.au The editor is Janet De Boer O.A.M.

I will do further follow up on the exhibition in future blogs.

The batik above is: Skirt cloth with sea-creatures design; Paoman village near Indramayu, 2000; cotton, synthetic dyes; hand-applied wax resist (batik tulis); 103.0 x 275.0 cm. The batiks of Indramayu frequently depict the marine life of the sea port. Here we see lobsters and fish swimming amongst the sea-weed. Unlike other parts of Java where the batiks are executed with great accuracy and control, the Indramayu motifs were drawn with a wonderful sense of freedom and movement of line.

It was very sad to read of the death on Saturday 31 July 2010, of the renowned batik designer Iwan Tirta at the age of 75 . There is world worldwide recognition of his talent and knowledge. Two books of his that have given me much are: Batik- Pattern & Motif, Penerbit Djambatam, 1966, and Batik : A Play of Light and Shades, Gaya Favorit Press, 1996. This is a magnificent publication in a two volume boxed set.

A passage from, Batik : A Play of Light and Shades, that gives a wonderful insight into Iwan Tirta are his own words in response to comments made by Harjonagoro (the Indonesian artist and batik master Go Tik Swan) in the Preface written by Gareth L. Steen, on page 19:

"I studied at the feet of Harjonagoro, who is a purist and I listened to his wisdom. His philosophy and technique is central to what has evolved in my own workshop. I digested his lessons and later developed my own vision based on his ideals. These are precision, balance, beauty and harmony of design."

I wish I had the opportunity to meet him and absorb just half of his repository of knowledge of Indonesian batik.

Batik of Java: poetics and politics

2010-03-08T22:49:00.000+10:00

While on a trip along the north coast of Java in 2007 we spent time in Cirebon, a city we fell in love with. One of the batik workshops we visited was Batik Madil where we spent a couple of hours with batik artist Ega Sugeng. Batik Madil is in the village of Trusmi. It was truly wonderful to be shown the batik that has been developed at the workshop since late 19th century. It was a difficult process but we finally decided to commission a kain sarong incorporating the kembang rangdu negerian motif which the workshop first created in 1912. The work took almost twelve months to complete. We strongly believe in supporting batik artists who are creating batik today as well as collecting older pieces of batik cloth.

This flawlessly executed cloth (above image is a detail), is embellished by its multiple colours (12), and bright summer flowers and butterflies depicting the high season of life. The kepala is made up of slanting bands or dlorong. Each band varies in colour, the type of flower and vary intricate isen. The border of the badan is a repretition of one of the dlorong making up the kepala. This is an extremely dynamic art work with great boldness and strong harmony- its young, vital and beautiful.

The Madmils are natives of Trusmi and have been making batik for generations. The Madmils are credited with unearthing and reviving some of the sacred royal patterns of the Court of Cirebon.

We wish to acknowledge our good friend Ajib who safely drove us on this journey of discovery from Yogyakarta, west to Bogor, up to Indramayu, east along the coast and returning to Yogya via Solo.

Batik of Java: poetics and politics

2009-12-03T20:37:00.000+10:00

At last I am back to publish a new post- much has been progressed with the exhibition. On Saturday 14 November we hosted a lunch for all those involved directly in the project. This enabled the curator, Dr Maria Friend to meet with contemporary artist Dadang Christanto; arts writer Yuliana Kusumastuti (Nana); gallery director representing Dadang's work, Jan Manton and Trevor; the Director of the organising gallery, John Waldron; the tour manager, Nina Shadforth and the collectors, Greg Roberts and Ian Reed. Four hours later much had been discussed and the project is flying.

Post lunch and on into the night Maria one-by-one unrolled each batik in order to make notes and as a result of holding and seeing the collection first hand, made adjustments to the grouping of the batiks for the exhibition's layout. On the Wednesday before the lunch, an initial layout was developed by Maria at the Caloundra Regional Art Gallery. This process was wonderful to observe. Also discussions took place regarding the hanging support system for the batiks and the format the catalogue may take. Nina's outstanding organisation made this day a great success.

This fine, high quality skirt cloth [kain panjang] from Lasem was produced by entrepreneurs of Chinese descent and executed by the very best batikers. It is a late 19th/early 20th century art work.

Kain panjangs with differently coloured tumpal at each end and borders on each side were favourites in Jambi, Sumatra. The tumpal on one end is dark, for use in the evenings and the other end is bright for use during the day. The tumpal or head on Lasem batik is usually in the form of the Pucuk Rebung (bamboo shoot), in the form of a row of triangles filled in with several different Chinese motifs such as banji, kilin, phoenix and butterflies. The borders (pinggir), are rich in decorative details. These minor decorations of small fauna and flora motifs and isen add value to the batik, enhancing its price.

The deminsions of this kain panjang is 107.5 x 279.0 cm.

Apology: in my second blog I indicated the age of the kain panjang pagi sore from Pekalongan, Java, as early 20th century when it should have been 1940s.

Batik of Java: poetics and politics

2009-11-02T18:53:00.000+10:00

Over the coming Blogs I will share with you some of our favourite batik art works.

This is one of our favorite cloths from our collection. Batik from Lasem is characterised by its intense red on an ivory or yellowish-white background. This combination of colours became known as bangbangan. We really enjoy the boldness of the motif and the sense of spirit and movement the work possesses. It has a strong sense of youthful vitality.

It is dyed with natural dye-stuffs such as mengkudu. Mengkudu is the red dye obtained from the roots of the mengkudu shrub (morinda citrifolia). It is the source of the bright red colour found on pasisir batik. Red is the colour associated with youth and fertility and would have probably have been worn by unmarried girls. This colour combination was also associated with the wedding ceremony.

2009-10-20T12:38:00.000+10:00

This outstanding early 20th century batik from Pekalongan has been choosen as the lead image for the exhibition, Batik of Java:poetics and politics.

The exhibition team are making great progress as we work towards the official opening on 10 July 2010 at the Caloundra Regional Gallery. In mid November, the curator Dr Maria Friend will be making her final selection of batik works from our Collection, for the exhibition.

We will share images of these beautiful batik with you over the coming months.

Batik truly is the sacred cloth of Java.

Batik of Java: poetics and politics

2009-09-17T16:14:00.000+10:00

UNESCO has recognised Javanese batik as an item of
Intangible Cultural Heritage of Humanity- what wonderful news this is.

To celebrate this recognition, the Caloundra and Noosa Regional Art Galleries, Queensland, Australia, in 2010 will present an exhibition,
Batik of Java: poetics and politics, that explores the links between a selection of batik from the North Coast of Java and paintings from
Dadang Christano's 2008 Brisbane exhibition, Batik Has Been Burnt. The batik will come from my and my partner's private collection and Dadang's work is represented by Jan Manton Art, Brisbane.

The curator of the exhibition is Dr Maria Friend, an internationally respected specialist on Indonesian textiles.

I will keep you posted.